Tim Byers Art Books - Catalogue 11 1. Christian Ludwig ATTERSEE. Die Tischzärte. Werkauswahl 1980. Düsseldorf. Galerie Heike Curtze. 1980. (30 x 21 cm). pp. 45, (3). Colour and black-and- white illustrations. Original colour printed wrappers. Catalogue to the exhibition in the Heike Curtze Galerie, November - December 1980. Printed in an edition of 1000 copies. This copy signed in pen by Attersee on the title page. $ 75 2. Christian Ludwig ATTERSEE. Attersee. Der Wettergatte. Bilder 1979 - 1983. Berlin. Reinhard Onnasch Ausstellungen. 1983. (21 x 21 cm). pp. (24). With 20 illustrations including 8 in colour and a photograph of the artist in his garden. Original printed wrappers, stapled. Minor staining to rear cover. Exhibition catalogue, Reinhard Onnasch Galerie, October - December 1983. This copy with an original pen drawing by Attersee on the title page, depicting a cocktail glass. The drawing is signed and dated Oct 83. $ 95 3. Christian Ludwig ATTERSEE. Austria. Biennale di Venezia. Vienna. Bundesministerium für Unterricht und Kunst. 1984. (28 x 23.5 cm). pp. 120. Colour illustrations throughout. Publisher’s glossy printed wrappers. Catalogue with texts in German, Italian, French and English. Foreword by Hans Hollein. This copy signed and dated in pen by Attersee on the half-title page. $ 65 4. Günter BRUS. Des Knaben Wunderhorn. Berlin. daad galerie. 1979. (29.6 x 21 cm). pp. (20). Full-page colour reproductions of Brus’ drawings. Original printed wrappers. Exhibition catalogue, September - October 1979. With introductory text by Wieland Schmied "Zwei Texte für Günter Brus. Ein irdisches Totaltheater. Eine Rühmung des Dekorativen”. This copy complete with the list of exhibited works printed on a separate loose sheet. $ 35 5. Werner BUTTNER, Günter FORG, Martin KIPPENBERGER et al. Junge Kunst Aus Westdeutschland '81. Stuttgart. Max-Ulrich Hetzler GmbH. 1981. (29.7 x 21.2 cm). pp. (32). Black-and-white photographic reproductions throughout. Original wrappers, with red plastic outer cover designed by Platino. Complete with hand- painted label housed in sleeve on front cover. Landmark group exhibition, Galerie Hetzler, July-September 1981. Participants: Michael Bauch, Werner Büttner, Günter Förg, Isa Genzken, Martin Kippenberger/Albert Oehlen, Reinhard Mucha, Albert Oehlen, Markus Oehlen, Platino, Eva-Maria Schön, Günter Tuzina, Isolde Wawrin, Dolores Wyss, and Palais Schaumburg. With the 7’’ flexi disc recording by Palais Schaumburg (the song Grünes Winkelkanu). Catalogue layout by the artists and Platino (Georg Röger). Text by Gudrun Inboden. $ 250 6. Werner BUTTNER. Schrecken der Demokratie. Band I. Eine Gesellschaftsordnung muss sich alles, was zeitlich und räumlich in ihr passiert, zurechnen lassen; da gibt es keine zwei Meinungen drüber. Cologne. Verlag der Buchhandlung Walther König. 1983. (29 x 22 cm). pp. 103. Publisher’s cloth with dust-jacket. Printed in an edition of 1000 copies. The painter Werner Büttner has, since the 1980s, been one of the so-called 'new' or 'young savages' together with Albert Oehlen and Martin Kippenberger, who propagated a 'Rückkehr der Malerei’ or a ‘return of painting'. Under the title Schrecken der Demokratie (Terror of Democracy), Büttner presents here a collection of provocative, thoughtful drawings and short texts. [Ref. Sabine Röder ed. - Sand in der Vaseline. Künstlerbücher II. 1980-2002, p. 34, no. 1.4]. $ 45 7. Werner BUTTNER & Albert OEHLEN. Büttner / Oehlen. Rechts blinken - links abbiegen. Berlin. Neuen Gesellschaft für bildende Kunst (NGBK). 1982. (23.8 x 17.4 cm). pp. 32. Publisher’s black wrappers. A fine copy. Artist’s book published to accompany Büttner & Oehlen’s early joint exhibition at the NGBK Berlin, October - November 1982. Albert Oehlen and Werner Büttner have exerted a sustained and provocative impact on the European art scene since the late 1970s when, as part of the Junge or Neue Wilde, they sought to renounce the dominant modes of conceptual and minimal art through a return to painting. Rechts blinken - links abbiegen (Blink right - turn left) is one of their legendary early collaborative exhibitions. The catalogue begins with brief biographies of each artist that list the several projects on which they had already cooperated, followed by two separate sections with seven colour reproductions of each of the artists’ respective works. A shared preference for rough paint handling serves to link the works on a visual level, but the artists’ individual output is prioritised. $ 450 8. Werner BUTTNER & Albert OEHLEN. Werner Büttner / Albert Oehlen. “Jenseits konstanter Bemühungen um braVen Erfolg”. Hamburg. Produzentengalerie Hamburg / Max-Ulrich Hetzler GmbH. 1983. (29.7 x 21 cm). pp. 58. Three colour plates, and numerous black-and-white illustrations. Original printed wrappers. Printed in an edition of 1000 copies. Includes an introductory text on alcohol consumption as well as texts, passages, and illustrations of drawings beginning with a reproduction of Dum Dum no. 3 – “Polke ist dumm und luegt” (Polke is stupid and Lies), originally published in 1979 by Der Liga zur Bekämpfung des widersprüchlichen Verhaltens (League for Combating Contradictory Behavior). $ 250 9. Werner BUTTNER. ViVa Büttner. Cologne. Galerie Max Hetzler. 1987. (19.6 x 15 cm). pp. (28). Both colour and black-and-white illustrations. Publisher’s printed wrappers. Artist’s book/catalogue published to accompany Werner Büttner’s exhibition at Galerie Max Hetzler, January-February 1987. [Ref. Sabine Röder ed. - Sand in der Vaseline. Künstlerbücher II. 1980-2002, p. 35, no. 1.12]. $ 30 10. Karl Fred DAHMEN & Reinhard DOHL. so etwas wie eine geschichte von etwas. Stuttgart. Galerie Müller. 1962. (24 x 22.2 cm). pp. 28 (pages uncut). Publisher’s boards. Artist’s book with text by Reinhard Döhl and illustrated with six original lithographs by Karl Fred Dahmen. Each of the lithographs is signed in pencil. With foreword by Helmut Heissenbüttel. Published in an edition of 85 numbered copies, signed by the artist and the author on the colophon. $ 800 11. Philip GARNER. Philip Garner’s Katalog Schöner Leben. 52 absolut unVerzichtbare Lebenshilfen für den modernen Menschen. Berlin. Elefanten Press. 1985. (23.5 x 16.5 cm). pp. 80. Colour & black-and- white illustrations throughout. Original glossy printed wrappers. Second German language edition. Pippa Garner has been an absurdist for four decades, satirising consumerism, marketing, and waste in performance art, videos, sculpture, installations, drawings and magazine editorials and art pages. She came to fame in the early 1980s, in her former identity as Philip Garner, after the publication of her book of madcap inventions, Philip Garner’s Better Living Catalog (1982). Her self-effacing humour and quirky utility apparel, including men’s midriff half-suits and umbrellas made from palm fronds, gained a wide audience through appearances on such talk shows as The Tonight Show, Today, and The Merv Griffin Show. $ 40 12. Al HANSEN. The secret of the whole thing. Das Geheimnis des Ganzen. Sophistofluxusdeluxus. Berlin. Petersen Galerie. 1983. (20.8 x 14.6 cm). Black-and-white illustrations throughout. Original printed wrappers, stapled. Published on the occasion of an exhibition in 1983 in the Petersen Galerie, in collaboration with the artist program of the D.A.A.D. Berlin. Printed in an edition of 500 unnumbered copies. This copy inscribed by Al Hansen on the inside front cover: under the printed line ‘I love Berlin’, Hansen has written “aber ich bin nicht ein fucking Berliner jetzt!” $ 150 13. K.H. HODICKE. Kalenderblätter. Aufzeichnungen 1969-79. Berlin. Berliner Künstlerprogramm des DAAD / Rainer Verlag. 1980. (24 x 17.2 cm). pp. 170. Consisting solely of facsimile reproductions of drawings by Hödicke. Original wrappers. A good copy. Published in conjunction with the Berlin artist program of the German academic exchange service (DAAD). A collection of sketches and notes by K. H. Hödicke. Printed in an edition of 1000 unnumbered copies. This copy with a presentation inscription in pen by Hödicke on the initial blank page (dated 1984); the artist has also drawn two ink portrait sketches on the final blank. [Ref. Michael Glasmeier - Die Bücher der Künstler. Publikationen und Editionen seit den sechziger Jahren in Deutschland, no. 548]. $ 95 14. (Martin KIPPENBERGER). Kunstpreis Villa Romana, Florenz ‘77 / Premio d’arte Tedesco Villa Romana Firenze ‘77. Mattner, Oppermann, Schanz, Wiegand. Florence. Villa Romana. 1978. (29.3 x 20.8 cm). pp. 105, (7). With numerous illustrations throughout, including 10 in colour. Publisher’s wrappers. In December of 1976 Kippenberger moved to Florence, where he lived during the next several months while producing his first complete series of paintings, Uno di voi, un Tedesco in Firenze. It is his first work that resulted from sustained reflection on what it meant to fully immerse himself within an untested place and culture. During his residency in Florence, Kippenberger participated in the artistic scene centred around the Renaissance Villa Romana, on the outskirts of the city. The Villa Romana Prize was initiated in order to offer an opportunity to talented, primarily younger artists resident in Germany to further develop their artistic position during a prolonged stay in Florence. Each year, a catalogue was produced to celebrate the winners of the prize. This catalogue of the 1977 prize (which was won by Jakob Mattner, Anna Oppermann, Heinz Schanz, and Gottfried Wiegand) is important because it is the first mention of